April 19, 2024

Today I’m launching a great new emulsion in FIlmist 2.3 The Fuji Pro 160NS preset to sit alongside the legendary Fuji Pro 400H. But even if you don’t use Filmist, the lesson from today’s video is big

Get Filmist 2 here or download the free sampler. If you already own V2 login and update here. I also mentioned Natural HDR 4 in the video.

I didn’t even know this. It took me years of creating this thing like this preset to understand how much we have lost. This really came to light in the latest update of my Fimist presets and Styles.

160NS is a great film. In digital terms, it seems close. Especially on some photos. But consider that Fuji did all the research and development to make this distinct film. There was reason for that.

As you watch look for the details. In a world of sledgehammer sliders, AI, supersaturation and synthesizes guitars. Everything has to be over the top. or does it?

The Fuji 160NS is not that far from the 400H. In today’s world, many might say, I don’t see the difference. But maybe something is deeply wrong with your edited photos.

Fuji Pro 400H and Fuji Pro 160NS presets for lightroom and capture one.
Side by side you can see how the color tones vary and those can make a huge difference (click for larger).

Why? We don’t think with that kind of detail anymore.

In digital the work I invest to make 400H and 160NS as presets is a lot for me. But nothing compared to what Fuji spent creating and marketing them. Even with all that work it was considered worth it to make another product that was just a little varied.

That should tell us something about how much more nuance photographers thought about back then. Film was the preset of the day and those little differences mattered.

It’s there. The tools are powerful enough. The courses are at our fingertips.

But it’s hard to wow people on Facebook or compare with fake Ai photos with a slight tonal variance. We have changed our mindset from subtly to a sledgehammer. It’s a really good hammer.

Once you start seeing the nuance. It comes back. You value it again and you start feeling the little variables in color and tone. Just like when you Hack Shadows you quickly connect with how magical photos are created.

It’s another reason I love to edit with film, shoot real film, and study what makes it work. because it makes me a better photographer when I shoot digitally, and it will for you also.

Gavin Seim

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December 21, 2023

There are lots of free Lightroom presets around my site like Silver and Natural HDR. But my most popular ones are my free film presets and I’ve updated them today for Filmist V2.

Download this free presets pack HERE on the Filmist 2 page

In the FIlmist free film presets and styles pack you get the next-gen Portra 160, Fuji Classic Negative, and Agfa RSX 100 film styles.

Just using these film presets will give you edits that feel true to the film. Photographers are learning that real photos are what matters in this new Ai world. For more on this check out my post and grounding your edits with film styles.

Below is a hands-on video from my channel on how to use Filmist 2. If you need help installing the free LIghtroom presets or Capture One Styles, check out the videos on the help page.

The latest refinements of these film styles are like true film. I’ve shot more film, done more side-by-side testing, and made every film recipe in Filmist 2 better.

I hope you love these and buy the entire Filmist film presets pack. It’s years of work and it is the best lightroom and capture one film presets I know of. But for now, at least grab my free film presets pack and enjoy.

Oh, and you also get free film LUTS in the free and complete pack so you can get the true film look in video editors like Premiere Pro, Resolve, and other photo apps like OnOne and Luminar.

Portra 160 free lightroom film preset. The latest version is included in the Filmst 3 free film styles pack
Portra 160 free film preset is a classic and the latest Gen3 version is even more refined. Portra 400 and 800 are also included in Filmist Complete.

I’ve been making high-grade Lightroom presets and free Capture One styles for many years. So why am I obsessed with getting perfect film looks? It comes back to maintaining that natural real look that the film created and that I’ve managed to duplicate in Filmist 2.

I use the balance I learn in creating film presets to improve my other presets. That’s why they all play together well.

Some photos need a different look. I normally use films as a starting point. But depending on my photo I’ll also use Natural HDR, Streetist, and my other packs.

Each of these packs also has mods. So while I love the ChemKit2 mods in Filmist I don’t hesitate to go to ModKit from Silver 5 black and white presets or maybe GoldChrome for a rich color warm look.

The new fuji classic negative free preset from Filmist 2
The Classic negative look is inspired by Superia 200. One of my most requested presets and the new Filmist 2 version is even better and more accurate than what you get on a Fuji camera.

The thing with film presets is that you won’t edit this way manually. Digital sliders are designed to let us push hard and the nuance of good film styles can take weeks to refine.

In a real darkroom, we could manipulate how we develop and print. So I put a ton of time into the ChemKit2 mods in Filmist. They let you use a film look and then adjust it instantly with darkroom-inspired processes. I included of of these for tone in the free pack. Turn it up and down and see what happens.

The beauty of using Lightroom presets and Capture One style packs is that with well-made film styles, you get edits that take hours in seconds. Once you get used to the milder grounding look of film it becomes a go-to. But if you have a photo that is not working with film, don’t hesitate to branch out.

A bonus free film preset. The Agfa film styles are amazing.
Agfa series films are rare as digital film styles very much but they will soon be one of your favorites. I included Afga RSX 100 with stunning color and fine grain in the free film presets pack.

I hope you enjoy the Filmist 2 free film Lightroom presets and styles pack and that these filmic styles let you see digital in a new light and use the rest of your presets, actions, and tools better.

I’m here to help if you have questions.

Gavin Seim

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December 2, 2022

As a tool creator, my most popular products have lots of organic darkroom looks. and for good reason. Filmist Film presets for Lightroom and Capture one. Emulsion Platinum actions, Silver black and white presets. They all have something special in common… Darkroom science!

Presets and edits that mimic the look of film in a darkroom give your photos an authentic look.

But you need more than that. You have probably used some of my most popular or my free film like presets such as my Classic Negative style, and Portra film presets. These work so well because digital makes it really easy to over-edit in ways that were non a problem in the darkroom and we need to balance that.

We’ve all gone back over our images and seen icky, overly saturated adjustments. So it’s easy to panic and begin underediting after that. Due to underediting, I actually designed Muse presets to create more cinematic edits.

Balance is what my new Darkroom Hackers editing class is about.

You can sign up for the class here.

This is not a “how to use the best film presets class.” I will show you how to use Filmist, Silver, and other tools; even Photoshop, for amazing color and black-and-white darkroom-like edits.

But this class is more than that. It’s a power-packed LIEV hour of how to understand what RAw editors are doing. Whether you’re using STyles for Capture One, Lightroom Film Prestes, Photoshop layers, or your own manual edits.

I’m going to show you how to achieve that organic look that feels like it came from the darkroom while still being able to create great color mixes and bold shadow blends. You’ll learn how to use film-like presets and make your own looks that pop off the page.

I’m excited about Darkroom Hackers because how we edit matters, and the photographer that knows these things get ahead of the competition in so many ways.

I’ll see you there | Sign Up

Gavin Seim

Film presets film styles portra 160
Fuji Classic Negative lightroom preset
Silver presets for LIghtroom and Capture One film looks
Grainy film look black and white edit
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September 16, 2022

I’ve been thinking for a while about how to make today’s video. People keep asking me for an overview of my tools but I’ve wanted a way to make that video useful, even for those who don’t have any of my tools or who just use my free tools.

What is Native editing?

This is when you use the tools already in your app like Lightroom instead of plugins. It can mean presets, actions, or all manual. And usually, it’s better because it uses all the engineering built into your favorite app.

Today I’ll show you why native editing in Lightroom, Capture One, Photoshop, and the rest is usually better than a plug-in and how to decide what kind of edit to do.

But I’m also going to show when you need to go beyond LIghtroom and a RAW edit and go to Photoshop.

There’s a lot of confusion on this and I get questions all the time about what native tool to use, why Silver 4 presets or when to Use Blackroom, Filmist, Lumist etc.

So Why do you need Photoshop?

I’m covering this more in the video. But where LIghtroom and apps like it are RAW converters. They are fast, you can copy and paste settings. You can batch edit. That’s great

You really can’t do that in Photoshop. Actions speed things up rapidly, but you can’t just apply settings from one photo to another or import a batch and edit on import. The difference is that in Photoshop you can do high-level refinement on your best photos. The keep is knowing how to use your RAW converter and your pixel level; editor like I show in the video.

There are a lot of ways to achieve your goal in photography.

I think the best way to get there is to know your options and most importantly to start making your editing plan. You need a system in place that guides you thru your own process each time.

I hope you found today’s video useful because I want this editing approach to make sense. If you have feedback just leave me a comment and I’ll see you next time.

Gavin Seim

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July 2, 2022

Why do camera-specific color profiles like Classic Chrome have to be camera-specific?

They don’t! In the end, it’s just a mix of colors and contrasts. A very detailed mix. And that’s what I’ll show you this week along with some samples of how these recipes look in real life.

The Filmist 1.7 update brings a lot of nuance, especially in the brand-new Classic Chrome recipe.

There’s a free sampler with 3 great film presets on the Filmist project page. It now includes the new Portra 160 1.7 update

First, I updated the Porta Gen.2 Presets.

Porta 160 for LIghtroom and Capture 1 Film presets - FIlmost free film preset
The latest version of Portra is more natural in both its LIghtroom Presets Variant and Capture One style. This is one of 3 Portra presets but this one can be found free in the FIlmist sampler pack.

I make Filmist 1.7 to have more refined Lightroom Presets, Capture One Styles, and video film LUTS that include a major refinement to the Gen.2 Portra presets, making them work more naturally like film.

Portra works on nearly anything and after years, the latest version of my gen,2 Portra presets much like the new Natura 1600 is just subline.

You can also watch my video on making the gen.2 Portra formulas.

The reason great recipes are better as presets is that they take a lot of dialing in. You will never do them manually every time. If you’ve seen things like my Sliders master workshop or the 3 Magic Sliders video on my channel, you have seen how these details matter.

Next, I finished the brand new Classic Chrome preset!

Canon RAW FILE, Classic Chrome Preset in Lightroom Classic.

Yes, I finally finished the much-requested Classic Chrome formula as a preset that can be used in any camera. It’s very clean and versatile. It’s actually a Fuji variant of Kodochrom, though since there were many Kopdachromes I can’t say which one specifically.

For those that don’t have my presets, I will be doing a video on how to create your own version of this recipe on my channel in the next week or so. So stay tuned.

Side by side of classic chrome presets in Capture one and Lightroom
Same image in LR and C1 using the presets / style. Almost identical in LIghtroom and Capture One, I programmed the preset to give a very accurate rendition.

If you own a fuji Camera that supports the Camera specific RAW profiles in LR, or C1 you can shoot RAW and then apply the camera-specific color profiles. The problem is they don’t work on other files or even older models of your Fuji camera that did not include that Film profile.

So Like I did for the Classic Negative Lightroom Preset and Capture One Style. I’ve been working for weeks building and refining a recipe for based on Classic Chrome V2.

The win here is that you can use this on any file type!

Here I used Classic Chrome on a Sony A73 file and result looked great.

Classic Chrome is a process that many photographers love because it’s very gentle and has that subtle feel.

This recipe is only included in the Complete version of my Filmist, since I already give away the Classic negative recipe for free in the Filmist sampler pack.

Side by side – The baked-in JPEG of the Classic Chrome look next to the preset process on the RAW file. Lightroom.

While in the Lightroom vs Capture One debate, I often favor the interface and speed of Lightroom. This was one of those times when the more advanced color controls in Capture One let me dial it in a little easier.

As you can see here however even in Lightroom, the baked-in JPEG from the Fuji camera next to the same photo from RAW file and NOT using any camera-specific profiles, just the preset. Well they are nearly identical which makes me happy.

A baked-in JPEG varies a lot from the settings and dynamic range you apply inside a Fuji camera. Here you just have the clean look and then can simply mod it with sliders of even the built-in Chemical tone mods that are in FIlmist. More control is the order of the day when you shoot RAW and then apply the color after.

Like I said next week I plan to make a video showing how to edit with Classic Chrome and where it works well. I’ll also give you an insider’s view of the formulas so you can play around and make your own variant even if you don’t use my presets or styles.

For Filmist users, make sure you update to V1.7 of the film pack in the portal. Then let me know in the comments how you like the results of these new updates 🙂

Enjoy – Gavin Seim

The Filmist Classic Chrome style used from Capture One
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